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This thesis is about furniture parquetry and various techniques. Parquetry can be describe as wooden, 2-dimensional patterns used to garnish furniture and other products. It is manufactured in thin veneer layer and applied to the surface. By using thin veneer we are able to minimize stresses in the material, which results in tight joints. In Europe, furniture parquetry is traditionally created by wood veneer pieces that has been formed and joined into a pattern. There are also other proven techniques developed during different stages in history and in different places in the world.

In my thesis I describe some of those established techniques and some of my experiments in the subject. The report is based on literature studies, observations of movie clips, interviews and empirical practical studies. I have compared different techniques to see in what ways it is possible to rationalize the production of furniture parquetry. At the same time I wanted to try and develop a method that makes it possible to create parquetry patterns containing round shapes. In this way I hope to contribute to the development and modernization in the area.

In my thesis I have sand blasted different type of woods - ring-porous and diffuseporous deciduous tree species and conifers - to show different results depending on the species, the direction of the grain and the effects of surface treatment of a blasted surface.

The results of my tests were sometimes unexpected, such as that the sand from blasting almost completely disappeared, that all wood surfaces after blasting exhibited a much lighter or paler surface than before and that the diffuse-porous tree species showed differences in hardness between the beginning and end of annual rings.

By creating a library of different kinds of wood and sandblasted surface treatment, I have created a reference bank that I will be able to use me in the manufacturing of interiors, furniture and other objects.

The colourful past of the late 18th century marquetry furniture has seldom been highlighted. Through ageing and environmental influences, colourful marquetry furniture has lost their original expression. The current knowledge of how Swedish cabinet-makers in the late 18th century used dyes to colour their furniture is limited. Trace of colour has been observed and the use of dyes has been mentioned, but deeper research in this filed is missing.

A visual examination and studies of archive documents and previous research have been performed to investigate the colourful past of Gottlieb Iwerssons masterpiece, a secretaire in Gustavian style made for the king Gustav III. The result shows that the secretaire has a colourful past in accordance with its original drawing. A hypothetical picture has been created to illustrate the colourful original appearance.

Based on a project from the third course in furniture design at Carl almsten Furniture Studies I have got the opportunity to design outdoor furniture with integrated lightning for John Mattson Fastighets AB, property owners in Larsberg, Lidingö. My concept is to create a space for socializing and security. I have worked through a design process based on a specific specification and concept formulation. The furniture will be produced by the lighting company ateljé Lyktan. In this thesis I will describe the process of this product development.

Parallel to the design process I have done an investigation of the market for my furnitures and outdoor furniture generally. My question is about how the process of the outdoor furniture looks from sketch to reality. Who decides about the furniture in the public space in the city of Stockholm? The result bifurcates into two different parts. The first touches the order John Mattson Fastighets AB did and will be presented in the form of pictures and drawings. The second result concerns my investigation. It is mainly landscape architects that distribute and decide about outdoor furniture in an outdoor environment, but depending on customer requirements vary on the furniture. Architect offices usually wins contracts through tenders or are hired by a private customer.

With abroad education of arts, textiles and nowthe upholstery there were nota long step to become interested inthe visual withinthe upholstery trade. I have chosen to highlight the shapethe world with boththe artist and thecraftsman's eye. I have explored hownew expressions canbe created from traditional methods and materialsfrom upholstery andrelated crafts suchas tailoring for Royal andsaddler. These craftsmake up a webof technologies, materials,and to some extent tool returns and borrowed.By looking at afew items fromthese crafts haveI let myself beinspired and made ​​use of knowledgehow to buildforms and eventransfer them tonew areas inan aesthetic andartistic direction. The result is fourcushions which relateto the free professionsand traditions of our craft history.The visual depictionof each ofthe cushions is essentially based onone of thesubject I havestudied: a 16oo-century costume, a1700s bed orbridal saddles fromthe early 1800s. But on techniques and materialsI have seen thestudied handcrafts as a smorgasbordof possible solutions.

The purpose of my report is to create an interest in hand caning and different caning patterns, both for professionals and interested laymen. My hope is that they will use my report as a guide and an inspiration, for techniques such as braiding a cane seat. I also discuss how better to preserve cane furniture and different ways in which to finish it. Weaving is easier than you might believe.

Today many people discard old and inherited furniture with elements of hand caning because it is too costly to have it repaired by a professional. Some people also remove the cane work and replace it with upholstery and fabric. I think this is very sad since the piece then loses its value.

I have also carried out hands-on work on a Baroque chair from the 17th century, belonging to the Royal Castle in Stockholm, with hand-caned seat and back. This proved that my chair, together with three other chairs, was remade in the 19th century while in Mälsåker Castle. There is no information about when, where or by whom these chairs were made.

This work is a search for a creative process that suits me. I gaze outwards to find new ways to do and provide more opportunities for me in my making and ultimately get closer to my own way of creating. Through interviews with active creative performers in various media, such as designers, a cartoonist, a musician and a poet I search for possible new methods and processes. Like the people I interview, I want to share stories, through my making, from my self and origin. I want to share stories to evoke thoughts, memories and reflection.

My starting point is the methodology that Carl Malmsten Furniture Studies advocates. Through the interviews my process and methodology has evolved and I have explored new paths for my creativity. This has also resulted in two physical objects, a book of poetry and a storage. These two unitedly speaks my thoughts on the innermost room, which we all have within us.

The history of furniture is full of parentheses, furniture that appeared for short periods of time, was never a big hit, was forgotten or even disappeared. We were convinced that amongst all these more or less forgotten pieces of furniture there were examples worthy of rediscovery and renaissance. By examining these pieces of furniture, we have understood their history and context, found out and reflected upon why they where never more than a parenthesis in the history of furniture, and, last but not least, we have gained an understanding of the purpose of their creation and how they were used. Our ambition with this research - by creating a feeling and an understanding of the furniture - has been to find the pieces that are well suited to act as models for new concepts and products. By describing the furniture’s original purpose, functions and context, we saw opportunities for product updates and rearrangement of form and function. We have made a selection based on a story of a fictitious company, a small company planning to put on the market a coherent collection of exclusive furniture of high quality. The purpose of the collection is to inspire to use and to create stylish, restful places in your home. The concept of the collection guided the criteria and discussions that were the basis of the choices we made when particular pieces of furniture were selected to generate new concepts. The purpose of our work was to show a process of working where we, as cabinet-makers, by means of examining historic furniture, create a coherent collection based on historic models. Our work has resulted in a collection of four pieces of furniture that have been modeled in co-operation with external designers and architects.

This work is about transcending in to another environment to discover new inspiration and new paths. It’s about borrowing from other areas of art/design to find different passages in to your own creativity. Without having a clear vision beforehand of how the end result would turn out, I wanted to explore how a fusion design process would look. I used the world of fashion as my starting point, the designer Diana Orving lead the way and I designed freely from that platform. By learning more from that other world, the world of fashion, I got a bigger insight in my own! Physically it resulted in a folding wall that symbolizes what I want to work with in the future.

The purpose of this work is to produce the most optimal wood core with the desired requirements in an all-mountain ski using Scandinavian wood. The study is descriptive and quantitative as it aims to measure the rate of change under the influence of wood species. In order to collect data for my research questions, tests have been carried out which generate data collection. A preliminary investigation was done with interviews to obtain a more detailed basis for constructing the method I would use in the final work. The results of the study showed that the wood type beech had the best results in terms of flexural strength. Ash had the best results when it came to tests on torsional rigidity. The down side of these woods is that they are too heavy. The lightest wood species of those involved in the tests was poplar. Therefore, I have chosen to combine species in the final wood core. Two different suggestions have been developed. One with a combination of beech and poplar, the other one with ash and poplar. The first provides a relatively light ski with good flexural strength. The second produced a light ski with good torsional rigidity. These two wood cores will be used in the construction of my skis and tested on the mountain.

During my internship at the Upholstery conservation department at the Metropolitan Museum of art in New York, I came across a chair that caught my interest and therefore I chose to dedicate the last two months of my internship, investigating this chair. It was said about the chair that it had the original upholstery and cover, but some questions appeared. These questions I have tried to solve, as I will reveal in the following, by using mostly non-intrusive methods, in attempt to see how much useful information this approach can provide, concerning frame structure, inner-upholstery, showcover and possible campaigns (interventions).

I found out, that it was possible to gather a great amount of useful information. In fact I will go so far as to claim that I found out even more than I would have found out, by isassembling the object manually.

A critical fiction about a specific piece of furniture that was made in a specifictime, in a specific geographic place.

The story frame, the fiction setting was made up by me, but all the facts and details are based on my experience in the field, text and documents about the specific piece of furniture of a specific time, and specific geographic place: a dressing table mirror made in the 1920s in Virserum, Småland, Sweden.

The objective of the survey, this knowledge based presentation, is to provide Skansen with a document that can enable the production of a new furniture at Skansen’s Snickerifabrik, Stockholm, Sweden. A piece of new furniture to give the visiting guests an even more authentic experience and to fulfill parts of the assignment of Skansen:

To ”/…/contribute to the conservation of: a) the diversity of the Swedish cultural heritage with emphasis on tacit knowledge, customs, traditions and crafts / ... / "

This is a project revolving around the commercial room such as fashion stores with its focus on shop fittings and their way to present products in boutiques like installations. Where fashion and interior blend together, putting layer on layer combining different aesthetic expressions. A space where architecture, interior, furniture, fashion and body meet. An environment depicting beauty and aesthetics that concern intimacy, desire and sensuousness. How do one create commercial spaces that seduce, spaces that evoke desires and cravings?

To find a deeper and wider understanding regarding this subject I wanted to look backwards in history to see how these environments came to be and what counts as the start of our consumption driven society that we live in today. The project resulted in a prototype of a design idé, a piece of furniture regarding storage and the display of clothing, accessories and other fashion related products. With it I wanted to explore certain elements and the way to present and elevate products. I looked at furniture that work as props/scenography which purpose is to enhance and market/sell other products. The furniture has its own tone and is charged with a value regarding quality.

A few weeks into the project I decided to incorporate the company & Other Stories as a part of my project and target.

This bachelor’s essay examine various types of weaving and different kinds of natural fibers, to find a combination that is durable and fit for an armchair. I wanted to study vegetable fibers that is made into ropes, strings and twines, and thus I chose abacka/manila hemp, bamboo, banana fiber, hemp, coir, paper fiber, rattan, sisal and sea grass. I have also chosen to compare different kinds of loose weaving, partly because the major part of today’s market for furniture in weaving materials are compact weaving, and I wanted a different character in the new armchair. And partly because loose weaving means less material and also gives the furniture a light and airy expression.

An analysis of the facts completes this first part of the essay. The second part contains a design project in collaboration with IKEA, where I am supposed to design an armchair. The material is a steel construction with a weaving of natural fibers. For this project I decided to use hemp, sea grass and paper cord, and three different types of weaving: one that has an organic character, one that is modern and one with traditionally linear pattern.

I have come to the conclusion that several of the natural fibers can fit for an armchair, and so can many of the weavings. The crucial thing is which character or design that is preferred in the furniture. Different combinations of natural fibers, weavings and colors matches different designs in different ways.

This thesis contains a description of my degree project, Charlie Rides the MerryGo Round, which was made at Carl Malmsten ‐ Furniture Studies, LinköpingUniversity in the spring of 2012. In my work I examine how to mass‐produce asmall product with new variations on templates and fixtures, and how todocument the process with film. I have looked at various films related to thetopic and various types of templates and then design a small figure namedCharlie that was produced in a series of 30 pieces. I carried out some of the stepsin the series production with the help of a type of template that I designed. Thetemplate, which I decided to call a merry go round template, is not the mostrational but is much more exciting and spectacular than a traditional template. Itherefore believe that the merry go round template is more suitable forfilmmaking. I have also created a film showing how my product is manufacturedwith the help of my merry go round template.

The aim with this work is to try to create processes and products deriving from humanist values. My workprocess in this projekt can for me be one way to work in the future. My work could also be a part of the world’s design requirements for good processes and products.

I have developed a humanistic design manifesto that I relate to in my work and based on it, I make wise choices. I have also produced a book about my process that shows my ideals and

humane products. The book, manifesto and products form a whole that makes the work more important in a larger philosophical contexts. I have created a book, a cabinet, three chairs, four lamps and a desk.

The links are vital between my values and products / book / thoughts. Everything is linked.I have tried to reach the universe. I have try to find guidence through humanistic values while working with the creative process. This is to me a philosophical standpoint.

In order to verify the work process, I have tried to answer to various philosophical choices, choice of materials, choice of cultural values and choices in life that I have as a human being.

Under my three years at Carl Malmsten – Furniture Studies I have developed a liking to process.

In my opinion design is about exploring and is, like all development, based on science and research. A clever design is therefore about the process rather than the result since my experience is that well made design give birth to new ideas that later on can become something sensational.

In my degree work my intention is to shut down the creative ego inside of me and instead embrace the creative altruist who shares his work in progress with others.

My chosen task during this project has been to construct a lightweight wooden chair. To be able to do so I have analysed existing data as well as getting new information through tests and research.

This account deals with my degree in furniture design. The project was done in collaboration with the architect firm Byggnadskonst AB in a quest for the cafe chain "Vivels"

Byggnadskonst AB’s mission was to make the interior of the cafe that Vivels is building in Larsberg Center on Lidingö. My assignment was to design chairs for the café. In the beginning I had even thought about designing a table, but as time past I focussed more and more on the chairs. My idea, or issue, was to make chairs for several different kinds of users. My goal was to make a chair for young people, a chair for the elderly and one chair for parents with children. The chairs would make sense of style and construction, but have different features that suited the different groups. I also wanted to learn more about the collaboration with architects, how an interior design project is done and what to consider in the design of the cafe chairs.

I did a research phase of reflection, a questionnaire survey of coffee shop visitors and cafe staff, and was also looking for information about it. I listed the various functions that the different groups could need. When I started sketching I decided to first make a basic chair. A chair that I was pleased with and which I knew was feasible in terms of price and production. During the process I found several interesting issues that I worked with, like how to hang the chair on the table in a new way and if you can make use of vinyl floor from the swedish company Bolon or felt to span a seat over a frame. Gradually I changed my issue from beeing about designing different chairs for different users to be about to make a basic chair that could fit most people in form and aesthetics, I confined myself to design a chair with armrests, one chair without armrests and a bar stool. Sure, there were still the idea of different people, the armrests are a help for older people that will find it easier to get up - but also in order to be able to hang the chair on the table.

In the end I just made one single chair, without armrests. I thougt a lot about armrests but not found a good solution to it. The barstool is available as renderings but is not as thought out as the chair - yet. This work continues, I still intend to finish an armchair and a bar stool as well, but outside of the thesis.

Cabinetmaker Johannes Fundberg was active in the Swedish province of Dalsland during the first decades of the 19th century, where he made unusual and beautiful furniture for wealthy farmers. The trained city cabinetmaker in the late 18th and the early 19th century was restricted by the strict rules of the guild. For the craftsmen who wanted to create furniture of his own mind the only way was to work in rural areas, where the compulsion to follow fashion fluctuations did not exist. The paper gives a brief description of the fashionable furniture styles in the late 18th to the early 19th century amongst the higher social classes and how furniture manufacturing in rural areas developed during the same period.The personal history of Fundberg and the conditions of his profession are described, and then the report moves on to his choice of materials and techniques. A clock which was recently discovered might be made by Fundberg is investigated. Details of his furniture design and surface decorations are compared. The paper also contains a documentation of a number of his works.

This thesis is about a part of the marquetrytechnique, scorching. Scorching is made by heating up something, put a veneer into the heated substance and make a controlled burning. This technique is old but still used today and have according to me great potential for development. In my work I wanted to give the scorching greater room then I earlier have seen. I wanted the scorching to be the dominant ingredient for a decorative element in a piece of furniture or an interior. This, I believe, is one way of making the art of marquetry more modern.

In my report I have written about the history of scorching, both in terms of how often the technique has been used throughout history, but also for its development during time. This part of the thesis is mainly based upon studies of literature and some interviews.

The biggest part of the thesis tries to consolidate a method for how to achieve a successful scorching. The criterion for successful is an equal gradient, repeatability and controlled length for the scorching. I have mainly experimented with exposuretime, exposuretemperature and different substances to heat up. During this experiments I have tried to define the best way to work. Several different woodspieces have been used but I have mainly worked with veneer of birch. During my work I have also tested to achieve new esthetical looks still mainly using the same technique. Changing materials to heat up and changing the way of applying the veneer. These parts of the thesis is based on empirical studies and with the report there are some physical samples describing my results.

The purpose of this work is to show how to build a brand and test this with a collection of furniture and furnishing products. Our work, with the working title îTextile Joints - Gone Bananasî, was presented as a collection of furniture at the Carl Malmsten graduate exhibition. Upon completion of our thesis we will have developed a basis for our brand including a range of images, texts, and press material. Additionally, we have started to work on our graphic profile and website. In order to help others who want to start a brand we will describe our process in a book. Our ambitions are for this report to be complete in form and content allowing us to publish it within seven months.To achieve this aim, we have worked in four different ways. First, we conducted a literature review. We then interviewed AndrÈ Hindersson who is working at design agency Silver. We then made case studies of five selected brands. With our findings we then designed and manufactured a collection of furniture. All this has helped us in formulating what our company stands for and wants.The result is a foundation for our brand, LarsEk, which we will continue to develop after graduation. We have developed a graphic profile including logo, colours, typography, photos, the beginning of a website and a company design philosophy. It reads: îLarsEk design studio works as freelance consultants and sell services in furniture design, product design and interior design. Itís all about detailsî. This statement is our way of communicating LarsEk as a whole. For our products we have agreed on a more specific message. They have a personality that makes you create emotional ties to them, something that transcends the functional aspects of furniture. We are better than our competitors because we can combine optimum performance and construction, with a strong personal connection that turns our products into individuals. Our unique selling feature is the attitude îproducts are individualsî. îWe tested our design philosophy through making 5 different pieces of furniture: one table, four chairs, four stools, a dresser and a wall-hung cabinet. Every piece of furniture includes pushbuttons or zippers for attaching or connecting parts or details. Through the work we have demonstrated the importance of working cohesively with a collection and brand that affect one another in a continuous process.

The kitchen is one of the most important rooms in our homes. It is a place for social engagements, meetings between people and activity. How the kitchen looks today is a concept sprung from the Swedish kitchen standard of 1952. Eventhou this standard no longer exists it is a model of how kitchens are designed today. The kitchens most often sold today come from one of four major kitchen manufacturers in Sweden.

My thesis investiges an alternative kitchen concept. What I am suggesting encourages social situations and activitys and offers surfaces where we can come together. It displays rather than hides those personal objects that make a kitchen personal.

Like the countryside kitchen of old times, in wich the fireplace were the core of the home, this concept and its surfaces create the same conditions for socialmeetings and activity.

I have in this rapport focused on workspace, storage and where we sit and and eat.

To me a kitchen is all about, personality and the joy of creating.Anders Ekström

I have as a student at Carl Malmsten - Furniture Studies chosen to devote my graduation work to resolve the issue: How to make a tool for play, which leaves the interpretation of space and stimulates the child’s own imagination?

Children have an open mind while we through the years have been shaped to see things in a certain way. I would strike a blow for children’s play, imagination and their creativity. I’ve done that with a focus on children’s differenttypes of play and then mainly for:

Character. (The child plays a role, alone or in interaction with other children)

Construction. (Children are experimenting and building with materials)

Movement (The movements are important)

To find answers to the issue, I have done research in child development and play. I have read books and previously written reports on the matter. I also conductedan interview where I used predetermined questions and had a dialogue with the children. I then used my acquired knowledge in a design process to test the viability of providing play equipment that stimulates children’s imagination.

Playground equipment is something children often play on, they are usually stationary and addressed to the whole body. Examples of playground equipment are swings, climbing frames, sandpit, slide and swing boards.

Children between three and four years need much space to play and like real things to play with. The best thing is to make “real things”, to sweep or wash. It also applies to children between four and five years, but then the child must also be given time and place for their projects. Projects to build a hospital, a palace or a garage, the child sees the world, but transforms it into their own internal images. At this age the child can go in and out of reality in any case, a cardboardbox can easily be converted into an airplane if thats what is needed in the game. To build and construct is perfect for the four-five year old. Carry, think, talk with others, adding, upgrading, be ready for a while and then rebuild again. The result was large building blocks in an environmentally approved plastic material.

This report presents the process and results of my bachelor thesis at Carl Malmsten Furniture Studies. With my journeyman's test as a starting point, I examined how the hidden craft underneath the surface of a traditional upholstered furniture can be made visible. The investigation has resulted in a describing text - from wooden body to upholstered furniture. My focus has been to answer the questions of what and especially why, rather than how you do something. I have searched formulations, words, representative illustrations and pictures to convey the intangible value and the tacit knowledge that is embedded in a traditional handmade furniture. The answer to question why gives us answers for the benefits of an act, and conveys the meaning and importance of tacit knowledge, which is knowledge that even a person without insight of the craftsmanship can comprehend.

With a epistemological (the theory of knowledge) background, I have examined the concept of knowledge and the dissemination of knowledge, which is the basis for this work. I have studied how different types of knowledge through history has been defined and measured differently, and what consequences it has had for the development of handicraft. I have also searched theoretical support that emphasizes the meaning of documenting and communicating tacit knowledge.

In each piece of furniture that an upholsterer restore, there is a cultural history to find, and it is through that history we learn our craftsmanship. Therefore, the work of a upholsterer is not just about craft itself, it also helps to strengthen the intangible cultural heritage and the survival of a traditional craft. For that reason I have written a historical background that describes the development of Swedish upholstery traditions and how it has evolved over time. As with the description of the work of my journeyman's test, I have particularly focused on searching for answers to the questions of why - the underlying reason whya material or technology came into use.

In this thesis we have expanded our experiences of handcrafting furniture into larger scale furniture making. With us we’ve had thoughts of our own future occupation and the possibilities to combine small and large scale cabinet making. In getting to know parts of the Swedish industrial manufacturing offurniture components, we’ve wanted to extend our network of contacts as well as increase our knowledge of their equipment and work methods.We have chosen to use a product that we designed for the task, thus limiting our area. Our idea has been to compare the manufacturing of parts for this product in a small workshop and small scale industry. We have divided the production into various techniques and for each of these we’ve sought out specialized manufacturers, to be listed and for us to visit and learn from.We believe our study shows that there are good opportunities for the small wood workshop to add to its success by both learning from and cooperating with the small scale wood industries. The modus operandi and the machines we have seen during our visits to industries, would in many cases be possible to use in the small workshop. Techniques that have been especially exciting for us to highlight include efficient turning of straight components, turning of irregular shapes in copy milling machines as well asthe development of steam bending through compression. What we firstly believe to be most profitable for the small woodworking shop to purchase from small industries are different types of turned or copy-milled components alongside the advanced processing that can be easily done in a CNC machine. In the process we also learned that there are many factors, in some cases difficult to clearly acknowledge, that affect which path is feasible and appropriate to take.

Sustainability is about promoting prosperity now, and in the future, by taking into account ecological, social and economic factors. It is about meeting the demands of today without compromising the ability of future generations to meet theirs.

Our thesis explores the conditions for sustainable furniture production through a flowchart, intended for use at the startup of sustainable manufacturing companies. The concept is based on the idea of raw materials being extracted and processed within a fifty kilometre radius.

We hope to bring about a deeper relationship between user and object than that which comes with mere purchasing and ownership. We have chosen to make construction and structure apparent, while the design invites the mind to critical questioning of stability and sustainability, both in a literal and a wider sense. We want the object to be developed, personalised and tailored to the user, so that together they can live on in a society that we do not yet know

The purpose of this thesis is to describe my observations made during a research on birch bark. I have, through my research investigated the possibilities of introducing birch bark as a modern industrial product and have come to the conclusion that it indeed is possible.

I have done an array of tests with the purpose of investigate its versatility. I have tried to glue it together, both with and without glue. I have boiled it, sown in it, burned it and distilled it. Furthermore, I took it to Linköping to do mechanical durability tests on it to see how much it could and could not endure.

I have finally made two different designs where birch bark has a central role in the products function and appearance.

I wish my final project to be a contribution in my efforts to bring about respect for the deviant.

I have developed a process with intellectual departure in a conceptual world far away from furniture, in this case, Darwin’s theories on evolution. It has been important for me to adopt a creative approach, to give myself the freedom to indulge in a topic without knowing where it would lead. Create the best possible conditions for a creative process. I have through nature studies, sketches, and free associations developed my furniture suggestions.

As a means of communication, I have used sketches, drawings and dialog. My aim has been to include other actors, in this case artisans, with various expertise and knowledge into the development process.

The ambition is to create a more sympathetic world by clarifying and creating respect for the different and deviant. Let the objects take shape and possibly an own life. To slow down todays overproduction I have chosen to produce kraft dependent objekts.

The result is a “family” collection of furniture, where each objekt was developed on its own terms. With respekt for the different and deviant, but yet they communicate with each other.

During my studies to become a guitar builder at Carl Malmsten CTD, I have found an interest in the construction of the classical guitar. I am fascinated by the simplicity of its construction. A simplicity that becomes more complex when you start to study it in detail.

In my final thesis I will not try to explain this complexity. The subject is to investigate two different principles regarding its construction. I would like to find out if the sayings concerning one of the principles will yield a guitar with greater ability to produce volume and projection.

At a close distance the difference between the guitar’s volumes is not to speak of, but a significant difference can be seen regarding one of the guitars ability to project its sound. In their nearness tonal aspects becomes in some extent legible. Even if the two guitar’s character of sound is alike subtle tonal differences exists.

The existing differences between the two principles of construction are regarding the two guitars that I have built. The subject for the examination is to conclude the guitar’s ability to project their sound nearby compared to at a distance.

This bachelor’s thesis begins in the journeyman piece I made during my third and final year at Carl Malmsten Furniture Studies. I examine different methods that can be used to produce a complex parquet installation. And how do the methods compare when it comes to time consumption, cost, material consumption and aesthetic expression?

Practically, I examine three methods: CNC milling, laser cutting and hand held milling.

The goal of my thesis is to develop useful knowledge which provides guidance for the production of complex parquet installations.

The result is in addition to experience and knowledge, swatches of the techniques I investigated, and products that show how you can use parquet installations in practice.

Laser cutting provides the most consistent results, and is most rational to manufacture, despite a high investment cost.

This report presents the graduation project worth 10 points that I completed in the Furniture Design Program at Carl Malmsten CTD, spring 2006. The purpose of this report is to describe and explain the process of this graduation project and the design of the products that has

shaped the form of my concept.

The report is based on the documentation from the process. I have choosen to present my

work for this report in four chapters. The first and opening chapter describes the background of the project, the second one shows the research, using pictures, and the concept for the

project. The third, is about the design and sketching process, while the last one presents the prototyping. The final part is an analysis of the result and some comments on the work and the

products.

The reason I chose this as my graduation project was beacuse I was curious about outdoor furniture and the possible functions they can have. These types of furniture will not go out of date, as long as the weather permits, as we will always spend time outdoors and will always have a need for products in this environment. I was looking to provide something new in this area, without losing the inherent properties to outdoor furniture.

I presented these ideas for Berga Form AB, because my understanding was that they, just like me, value quality and care for details. Furthermore, they produce the majority of their

products in Java, Indonesia. I was in this area when I contacted Berga Form the first time. I did a 3 months internship in Singapore/Java the autum semester of 2006, when I thought up the idea for my graduation project.

The result if this project is a table and a bench for outdoor environments. The material is cast aluminum and solid Ash tree. This product has a function that will ease transport for Berga Form and winter storage for the customer. The furniture posesses an aesthetic that is exclusive and stylish to match Berga Form´s present collection.

My thesis explores the overhead router, a formerly common but now rarely used and largely forgotten milling machine. My methods will be both practical and theoretical, and I will linger on three main questions; (1) How is the overhead router used? (2) Why did workers and foremen stop using the overhead router? And (3) what are the potential advantages of the overhead router? The theoretical side of my work will be based on interviews and field research from various workshops and woodwork organizations. The practical aspect of my thesis is an attempt to learn to use the overhead router personally, and in doing so, find out if the overhead router has a place in the contemporary woodworking shop.

This report describes the bachelor degree project called “A case study in strategic product design in collaboration with Elfa” carried out by Mathieu Gustafsson and Pär Rickberg,students at Carl Malmsten Furniture Studies.We had the opportunity to do our degree project in collaboration with ELFA after a previous school project where we made suggestions for new products. Initially the brief was to develop new products for the company which was based on previous proposals.Reasoning led us in to design strategies and how to use such a strategy to develop newproducts for ELFA. During our first superficial analysis of ELFA and its current products, we found that we wanted to recast the framework of identity and context in which the product would be created. According to the researches made by SVID (The Swedish Industrial Design Foundation),companies that continually are working with design strategies strengthens the brand, its competitiveness and become more innovative. We wanted to make use of such a strategy in the process of developing new products for ELFA. We then made a proposal for a design strategy and a vision for ELFA. Based on this vision, we proposed a new series of products, which we also present in this report. Ultimately we evaluated our collaboration with ELFA where we concluded that the design strategic methodology has several advantages. The work process is more targeted, efficient and therefore reduces the risk of making mistakes. The proposed product will also be more tailored to the specific market that the company wants to target.

This thesis seeks to explain how the various 3D-technologies can serve as a practical aid in applied furniture conservation. The thesis deals with various techniques to scan and print, presents a selection of previous research relevant to the topic, and provides insight into the practical case studies.

The technical development of 3D printing and scanning is advancing rapidly which raises the question whether the technology can be a useful tool in the field of conservation. The thesis presents a number of case studies where 3D technology has been used for documentation and restoration of various objects. These techniques have been compared with conventional methods.

PLA is a printing fillament, perhaps primarily intended for commercial use. The work examines this material and its compatibility with other materials. After aging, the fillament undergoes a structural and color test. The results show that PLA is sensitive to UV-radiation and temperatures above 60°C. We believe that 3D technology can, in many cases, serve as a useful tool for furniture preservation.

Can we as upholsterers work effectively and nontoxic using plates in natural materials as filling in furniture?

In our work we have investigated renewable natural materials in plates and how they work as furniture filling. We want to find out what products are available and examine what their possibilities and limitations are.

We have inventoried the supply of Swedish retailers and we have tested products made for furniture but we have also tried isolation plates in flax and hemp from the construction industry. Through practical tests we l earned how well the materials are suitable for various upholstery techniques. Based on the tests we chose some products to use in our work on restoring an armchair and a sofa. After performing the tests and working on the furniture we have summarized the results, including time saving aspects and cost. We have found that hemp insulation is an affordable material that works very well as filling material in furniture. This work can form the basis for the upholsterer who wants to shift to a sustainable way of working. We believe the future lies in finding ways to work more effectively with natural materials. The plates are one way to do it